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ADRIAEN FRANS BOUDEWIJNS (Brussels, 1644-1711)."Market Day".Oil on canvas. Antique re-colouring.It
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Description
ADRIAEN FRANS BOUDEWIJNS (Brussels, 1644-1711).
"Market Day".
Oil on canvas. Antique re-colouring.
It presents slight restorations.
Measurements. 67,5 x 86,5 cm, 86 x 102 cm (frame).
Scene in the open air, which is shown to the spectator in an idyllic way as it contains a romantic presentation of the peasantry. It avoids displays of effort and shows a cheerful society, dressed in richly coloured costumes that stand out against the dark tones that dominate part of the scene. The artist presents us with a classical perspective, with a vanishing point in the centre of the scene, which is defined by a mountain in the distance, as are the sides of the work, which also have elements that close off the composition to some extent, leaving more space as they approach the foreground. This type of genre scene was very common in the Dutch school, as was the aesthetic treatment, dominated by the presence of a naturalistic landscape with an atmospheric quality whose presence dominates the figuration, which is depicted in small dimensions.
Aesthetically the work shares characteristics with the style of Adriaen Fransz Boudewijns, a Flemish landscape painter, draughtsman and engraver. He was known primarily for his landscapes with trees, Italian landscapes with architecture, rivers and villages, views of the city, coast and countryside, and architectural scenes. In 1665 he was registered as both pupil and master of the Guild of Saint Luke in Brussels. He was a pupil of the landscape painter and engraver Ignatius van der Stock. While in Paris (1666), Boudewijns engraved many of van der Meulen's compositions. He also made engravings from the work of Genoels, the Dutch artist Jan van Hughtenburgh and his own designs. He had a studio in Brussels where he received Andreas Meulebeek as a pupil in 1682 and Mathys Schoevaerdts the following year.
"Market Day".
Oil on canvas. Antique re-colouring.
It presents slight restorations.
Measurements. 67,5 x 86,5 cm, 86 x 102 cm (frame).
Scene in the open air, which is shown to the spectator in an idyllic way as it contains a romantic presentation of the peasantry. It avoids displays of effort and shows a cheerful society, dressed in richly coloured costumes that stand out against the dark tones that dominate part of the scene. The artist presents us with a classical perspective, with a vanishing point in the centre of the scene, which is defined by a mountain in the distance, as are the sides of the work, which also have elements that close off the composition to some extent, leaving more space as they approach the foreground. This type of genre scene was very common in the Dutch school, as was the aesthetic treatment, dominated by the presence of a naturalistic landscape with an atmospheric quality whose presence dominates the figuration, which is depicted in small dimensions.
Aesthetically the work shares characteristics with the style of Adriaen Fransz Boudewijns, a Flemish landscape painter, draughtsman and engraver. He was known primarily for his landscapes with trees, Italian landscapes with architecture, rivers and villages, views of the city, coast and countryside, and architectural scenes. In 1665 he was registered as both pupil and master of the Guild of Saint Luke in Brussels. He was a pupil of the landscape painter and engraver Ignatius van der Stock. While in Paris (1666), Boudewijns engraved many of van der Meulen's compositions. He also made engravings from the work of Genoels, the Dutch artist Jan van Hughtenburgh and his own designs. He had a studio in Brussels where he received Andreas Meulebeek as a pupil in 1682 and Mathys Schoevaerdts the following year.
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ADRIAEN FRANS BOUDEWIJNS (Brussels, 1644-1711).
"Market Day".
Oil on canvas. Antique re-colouring.
It presents slight restorations.
Measurements. 67,5 x 86,5 cm, 86 x 102 cm (frame).
Scene in the open air, which is shown to the spectator in an idyllic way as it contains a romantic presentation of the peasantry. It avoids displays of effort and shows a cheerful society, dressed in richly coloured costumes that stand out against the dark tones that dominate part of the scene. The artist presents us with a classical perspective, with a vanishing point in the centre of the scene, which is defined by a mountain in the distance, as are the sides of the work, which also have elements that close off the composition to some extent, leaving more space as they approach the foreground. This type of genre scene was very common in the Dutch school, as was the aesthetic treatment, dominated by the presence of a naturalistic landscape with an atmospheric quality whose presence dominates the figuration, which is depicted in small dimensions.
Aesthetically the work shares characteristics with the style of Adriaen Fransz Boudewijns, a Flemish landscape painter, draughtsman and engraver. He was known primarily for his landscapes with trees, Italian landscapes with architecture, rivers and villages, views of the city, coast and countryside, and architectural scenes. In 1665 he was registered as both pupil and master of the Guild of Saint Luke in Brussels. He was a pupil of the landscape painter and engraver Ignatius van der Stock. While in Paris (1666), Boudewijns engraved many of van der Meulen's compositions. He also made engravings from the work of Genoels, the Dutch artist Jan van Hughtenburgh and his own designs. He had a studio in Brussels where he received Andreas Meulebeek as a pupil in 1682 and Mathys Schoevaerdts the following year.
"Market Day".
Oil on canvas. Antique re-colouring.
It presents slight restorations.
Measurements. 67,5 x 86,5 cm, 86 x 102 cm (frame).
Scene in the open air, which is shown to the spectator in an idyllic way as it contains a romantic presentation of the peasantry. It avoids displays of effort and shows a cheerful society, dressed in richly coloured costumes that stand out against the dark tones that dominate part of the scene. The artist presents us with a classical perspective, with a vanishing point in the centre of the scene, which is defined by a mountain in the distance, as are the sides of the work, which also have elements that close off the composition to some extent, leaving more space as they approach the foreground. This type of genre scene was very common in the Dutch school, as was the aesthetic treatment, dominated by the presence of a naturalistic landscape with an atmospheric quality whose presence dominates the figuration, which is depicted in small dimensions.
Aesthetically the work shares characteristics with the style of Adriaen Fransz Boudewijns, a Flemish landscape painter, draughtsman and engraver. He was known primarily for his landscapes with trees, Italian landscapes with architecture, rivers and villages, views of the city, coast and countryside, and architectural scenes. In 1665 he was registered as both pupil and master of the Guild of Saint Luke in Brussels. He was a pupil of the landscape painter and engraver Ignatius van der Stock. While in Paris (1666), Boudewijns engraved many of van der Meulen's compositions. He also made engravings from the work of Genoels, the Dutch artist Jan van Hughtenburgh and his own designs. He had a studio in Brussels where he received Andreas Meulebeek as a pupil in 1682 and Mathys Schoevaerdts the following year.
26th October - Old Masters
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